C Ulture Office Of

OFFICE OF

CULTURE Contents Contact Us41 Contact Financials Seattle ArtsCommission36 Staff Creative |Space24 Creative |Community14 Creative |Youth 08 and Michael Seiwerath04 Letter fromRandyEngstrom Letter fromtheMayor02 35 38 I want Seattle to become one of the best arts cities in the world.

—Mayor Ed Murray As Mayor, I am committed to helping Seattle to become one of the best arts cities in the world. Our city is already one of the most vibrant and creative in the nation. People are drawn to Seattle’s thriving arts and music scenes and the rich diversity of its communities. Businesses are attracted to Seattle because we are an international cultural hub. We understand both the real human value of art and its economic potential.

Here in Seattle, we make the arts a priority. Last year, the City invested almost $2.5 million in the arts. We funded more than 300 different arts and cultural organizations and artists that reached over 1.5 million people. This year our support for the arts is growing. With support from City Council, we have added $150,000 for our Arts Mean Business program, which underwrites jobs for cultural organizations serving historically under-represented communities. And as part of the Creative Advantage program, we are investing $500,000 to bring arts education back to the classroom.

These investments in the arts improve educational opportunity and achievement, foster economic development, and contrib- ute to our ongoing pursuits of social and economic justice.

Thank you for supporting our city with your time, energy and vision. 2013 was a great year for the arts in Seattle. Together, we can make 2014 even better.

Sincerely,

Edward Murray Mayor of Seattle

3 Investment in the arts is an investment in our city.

—Randy Engstrom What a year! 2013 started out as a year of possibility and the Ofﬁ ce of Arts & Culture grabbed a number of those opportunities and turned them into advances for the arts in Seattle. Our ofﬁ ce grew in size and scope and now offers more programs, more prospects, and more engagement than in years past.

In January, the Langston Hughes Performing Arts Institute (LHPAI) was transferred from Seattle Parks and Recreation to the Offi ce of Arts & Culture. The addition of LHPAI as a program of the Offi ce of Arts & Culture aligns with the Offi ce’s mission. It’s a strong working relationship for both organizations and we’re happy to welcome LHPAI to our team.

The Ofﬁ ce of Arts & Culture has been working on the issue of cultural space for many years, and in May we added a staff position to support this work day-to-day. Our new cultural space liaison, Matthew Richter, is currently working on a new space ﬁ nder tool that will connect artists and arts organizations to spaces for development, rehearsal, or presentation of their work. He also presented Square Feet 2013, an event for the cultural community to gather and talk through pressing issues.

We also added staff capacity in the area of arts education: Lara Davis joined the ofﬁ ce in the summer as an arts education specialist. Lara is managing Seattle’s city-wide K-12 arts plan, The Creative Advantage, a comprehensive strategy for closing the access gap in arts learning. Given our ofﬁ ce’s values, Lara’s experience with race and social justice training is a special asset in ensuring that tenet is a thread through all of our work.

5 Along with these new initiatives, our established programs also achieved powerful results in 2013. We celebrated the 40th anniversary of the public art program, which has added more than 400 permanently sited works to our public spaces since its inception, and rotates nearly 3,000 portable works throughout city buildings. Seattle is host to one of the ﬁ rst programs of this kind in the country, and we’re pleased that our city continues to innovate in this ﬁ eld, as evidenced by the two Americans for the Arts’ Year in Review awards we received in 2013.

Additionally, we maintained our historic funding programs, which this year supported more than 325 cultural organizations and artists, who in turn enriched the lives of residents and visitors with opportunities ranging from neighborhood festivals to dramatic performances to arts training for youth. It really was a whirlwind year of accomplishment and progress. We’re very proud of what we achieved – and we’re looking forward to another robust year of activity and possibility in 2014.

Our Best,

Randy Engstrom, director Ofﬁ ce of Arts & Culture

Michael Seiwerath, chair Seattle Arts Commission

6 CREATIVE | YOUTH Innovative mindstomorrow Arts educationnow ages. Photo:GeriWatkins. out-of-school creativeoutletforstudentsofall Hughes Performing ArtsInstituteprovidean Drop-in breakdancingclassesatLangston A young painter explores self-expression through Pratt Fine Arts Center’s free Sunday experiential arts classes for youth ages 5 to 13. Pratt is a Youth Arts grant recipient. Photo: Myra Kaha.

ART HAS THE

CAPACITY to change the way we understand ourselves and the people around us; art expands perspectives and leads the way to a richer appreciation of our community and our place. In order to give young people the tools they need to succeed in school, life, and our city, we must invest in their creativity. We do this by ensuring that arts opportunities will be available to every student at every school in Seattle through our arts education initiative, The Creative Advantage. We also invest in arts training outside the classroom, both during the school year and in the summer, through the Youth Arts and Work Readiness Arts Program (WRAP) grant programs. Inclusiveness is at the heart of the Ofﬁ ce’s youth development programs; we must ensure these fundamental opportunities are accessible to everybody as a matter of equity. Investing in our youth is an investment in Seattle’s future.

The Creative Advantage is reinvesting in Seattle’s students and our economic and creative future by addressing inequities in arts access and restoring arts education to all Seattle classrooms. By 2020 all Seattle students will have access to a continuum of arts classes, from two hours of visual arts and music per week for our youngest learners, to media arts courses at the middle school level, to career connections in high school. In 2013 we ofﬁ cially launched The Creative Advantage at Bumbershoot with a video created by Reel Grrls, and invested in instruments and materials for the

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initiation of six new K-2 music programs in the Central Area. In addition, a number of The LHPAI Quare Program gives voice to LGBTQ youth of color as emerging artists Seattle Public Schools arts specialists have participated in training on 21st Century and culture makers by supporting productions, performances and artistic opportunities Skills assessment provided by Arts Corps and the district. Image 1: Seattle Schools for LGBTQ youth and allies. Annual Quare programs include Voices Rising, Mangos Superintendent José Banda watches as students at John Muir Elementary School with Chili tour, Quare Youth Mentorship project and theater production, and annual engage with an art lesson. Photo: Robert Teodosio, Seattle Schools. African American Film Festival opportunities. connections. Quare projects assure that a broader segment of youth is seen, and given creative space and sustainable The Work Readiness Arts Program (WRAP) launched in 2013, funding nine opportunities. organizations providing out-of-school programming that links arts learning and work experiences for Seattle youth ages 14 to 18. The program provided over 900 hours of Langston Hughes Performing Arts Institute’s Artist Incubation program brings a instruction for nearly 80 youth through paid training opportunities with teaching artists. nascent cultural organization into LHPAI’s facility for a year-long cultivation and devel- Youth gained skills in digital media, design, building, photography, journalism and visual opment. 2013’s Artist Incubation program was Freshest Roots, a local organization and public art. The program is a partnership with Seattle Youth Violence Prevention established to connect the community and youth through music, art and fashion. The Initiative. Image 2: WRAP grant recipient Totem Star’s youth participants booked, program resulted in a monthly open mic night, among other events. planned, promoted and produced their ﬁ rst community arts and music showcase and open mic at Youngstown Cultural Arts Center. Photo: Jenny Crooks.

Youth Arts funds teaching artists and organizations providing out-of-school arts training. In 2013, Youth Arts awarded just over $175,000 to 32 organizations and individuals, including Stephanie Guerra, who led creative writing exercises with 40 middle– and high–school youth from King County Juvenile Detention. Image 3: Guerra designed short-term, stand-alone lessons utilizing visual and liter- ary prompts and team-generated pieces as springboards to process and express powerful and deep experiences via testimonials in a supportive environment. Photo: Chris Taylor.

Langston Hughes Performing Arts Institute trains youth ages 6 to 12 and 13 to 19 in the Pre-Teen and Teen Summer Academies. In 2013 80 youth participated, and presented “Keys to Fame,” which took on the universal theme of pursuing a dream, and “Keeper of the Flame,” a coming of age story.

12 13 CREATIVE | COMMUNITY participants. audience ofalmost1.6million exhibit daysultimatelyservingan performances,eventsand 4,600 and artiststosupportalmost million in328organizations In 2013,weinvested$2.6 Cherdonna andLou.Photo:EricPaguio. idea ofsmalltownfamefeaturingperformers ensemble dragdance—comedyinspired bythe CityArtist JodyKuehner presentedanew Catherine Cabeen performs Hair Trigger as part of her CityArtist project. Photo: Alan Kimara Dixon.

THE OFFICE OF ARTS &

CULTURE has been investing in the city’s cultural community for more than forty years. Investments take the form of program-sustaining grants for individual artists and cultural organizations, as well as the purchase of artworks for the city’s Portable Works Collection. In 2013, we hosted workshops and capacity-building seminars in areas such as race and social justice and cultural space, and presented forums on new healthcare laws and what artists need to know about the new legislation. The Offi ce presented a fi lm and panel discussion on Minor Differences, a documentary about fi ve juvenile offenders in maximum security prison. The fi lm was funded through the CityArtists grant program. Under a bright blue sky in August, we brought together over 500 members of Seattle’s cultural community for the annual Mayor’s Arts Awards ceremony, which recognizes the deep talents that reside in Seattle. The investment of money and resources in Seattle’s cultural community has wide-reaching impact. In 2013, we invested $2.6 million in 328 organizations and artists to support more than 4,600 performances, events and exhibit days, ultimately serving an audience of 1.6 million participants. Every city dollar spent leveraged $12.54 in private and community investment.

The CityArtist program, which assists individual artists based in Seattle to develop and present their work, awarded $160,000 to 31 individual artists working in the dance, music and theater arts in 2013, thirty percent of whom were ﬁ rst-time grantees.

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CityArtist Catherine Cabeen (pictured on previous page) experiments with expressing Langston Hughes Performing Arts Institute offers Program Partnerships to over and incorporating ideas and political action into movement vocabularies. Hair Trigger 30 individual artists, community organizations and small arts groups throughout the was based on fi eld research about life and work of Niki de Saint Phalle, a 20th century year at a value of nearly $80,000. This program represents LHPAI’s commitment to French artist, and Cabeen’s exploration of women’s sense of self-worth in conjunction community capacity-building through the performing arts by allowing fl edgling artists with their view of their physiques. and arts organizations to showcase their work in a professional theater setting. Grantees included the African American Leadership Foundation, Earshot Jazz, Freshest Roots, As a small awards program, smART Ventures encourages innovation and widens Washington State Historical Society and emerging playwright Malika Lee. cultural participation by communities that may not qualify for other funding programs. smART ventures provides support ranging from $500 to $1,000, proving that small The 2013 Mayor’s Arts Awards ceremony celebrated the best and brightest of investments can have big impacts. Image 1: Benjamin Maestas’ performance instal- Seattle’s arts community, culled from a pool of more than 600 public nominations, a lation attempted to bridge the gap between dance, installation art and architecture new record. Award recipients were: by exploring the relationships between these fi elds and searching for ways that each discipline can inform the others. Photo: Benjamin Maestas. - Future Focus: 826 Seattle - Cultural Ambassador: Barbara Earl Thomas In 2013, the Civic Partners granting program awarded $1.6 million to 126 Seattle- - Venture Culturalist: Frye Art Museum based arts, heritage and cultural organizations and nine arts service organizations desig- - Arts as the How: Pongo Teen Writing Project nated as Community Partners. Together, these funded organizations served an audience - Raising the Bar: Preston Singletary of over 1.3 million people, including more than 240,000 students and youth. Funded - Artistic City: Seattle Repertory Theatre partners include the Wing Luke Museum of the Asian Pacifi c American Experience and Theatre Puget Sound for their Arts Crush festival. Image 2: Guests explore “War Baby/ Image 4: Mayor’s Arts Award winners and Seattle Arts Commissioners gather before Love Child: Mixed Race Asian American Art” at the Wing Luke Museum of the Asian the award ceremony on August 30. Photo: Jennifer Richard. Pacifi c American Experience. Photo: Jake Kwong. Image 3: Theatre Puget Sound’s Arts Crush is a community-wide arts festival offering interactive arts experiences that A core value of the Offi ce is inclusiveness, and we dedicated time and resources to inspire creativity in unexpected places. Pictured is Tom Dang in “Revealed: In Search of support the Arts & Social Change convenings throughout 2013. Through this Bruce Lee,” a site-specifi c theatrical tour of the International District. Photo by Joe Iano. work, we pursue meaningful outreach and engagement with underserved communities and artists, work to undo institutional racism in our own groups and agencies, foster The Cultural Facilities program, piloted in 2012, supports Seattle-based arts, heri- and facilitate equity in arts, culture, and heritage funding; and promote and facilitate tage, cultural and arts service organizations with funding for facility renovations or new equitable access to comprehensive arts education, including cultural competency. facilities. A total of $250,000 was distributed to 13 organizations in 2013. Attendees to the Arts & Social Change Day at the Washington Cultural Congress, the

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Visioning Summit, and the gatherings held in partnership with the Offi ce for Civil Rights New additions to the Portable Works Collection were presented in a two-part explored these ideas and how to expand the focus of this work. Image 5: Attendees to exhibition called Atmospheric Weather featuring 47 artworks by 33 artists with the Visioning Summit discuss goals and outcomes. Photo: Jenny Crooks. weather conditions as a theme in the Seattle Municipal Tower Gallery, which shows rotating exhibitions. The artworks were purchased with Seattle Public Utilities (SPU) 4Culture, Artist Trust and the Seattle Offi ce of Arts & Culture partnered in 2013 on a 1% for Art funds in 2013. Additional gallery exhibitions included Women’s Stories pilot program called ARTISTS UP, an initiative to better serve all artists throughout and Native American Work from the Seattle Public Utilities Collection. City Hall Seattle, King County and Washington state. The program for Latina/o artists consisted exhibitions included Ethiopian Art: Tradition, Assimilation and Change; A Wider View: of a two-part information series and a community focus group. Among the fi ndings Onyx Art Gallery Collective; Seattle Police Department: A Retrospective of 35 Years was the need for networking and mentorship opportunities and a “hub” that can serve of Service, Pride, and Dedication; To Give in Return: Six Artists Who Embody the to connect Latina/o artists. The three funders have begun to respond to the report Indigenous Values of Reciprocity and Extended Community; City Light Centennial; fi ndings by making improvements and removing barriers to access. and A Sense of Place II: Idea Odyssey Collective. Image page 20-21: Spike Mafford, Clouds over Seattle, 2013. Backlit latex transparency face-mounted to clear acrylic. Langston Hughes Performing Arts Institute presented the world premiere of Hello Plexiglass box/frame with daylight balanced LED lighting. Photo courtesy of the Darlin’s: Mom’s Got Something to Tell You! This hilarious one-woman show about the artist. Exhibited in Atmospheric Weather exhibition. iconic ahead-of-her-time comedian Jackie “Moms” Mabley (1894-1975) was written by local playwright Dan Owens and featured local vocalist and actress Josephine Thanks to a generous donation by the Committee of 33, the Story of North Island Howell. Mabley’s career, spanning from the 1920’s Chitlin Circuit well into the 1970s, totem pole was conserved this year, including removal of biological growth, invasive left behind a legacy of over 20 albums and memorable appearances. Image 6: Josephine pest eradication, consolidation of deteriorated wood, restructuring of areas of loss Howell as “Moms” Mabley. Photo: Jason Gu Photography. caused from woodpeckers and other invasive species, inpainting, paint consolidation and the application of suitable surface coatings.. The totem pole, located on the Montlake In 2013, Neighborhood & Community Arts (NCA) funded 38 festivals and Cut near the University of Washington, was carved by Haida Chief John Dewey Wallace events throughout 19 neighborhoods celebrating a variety of local arts and the vibrant in Waterfall, Alaska, in 1937. Conservation is an important part of the preservation of cultures of Seattle. NCA invested just over $45,000 in these events attended by Seattle’s public art collection; in 2013 over 60 works of art were treated. nearly 174,000 residents and visitors. Image 7: One such event, the Mexica New Year Celebration, created by CeAtl Tonalli, includes traditional Aztec dancing, singing and drumming, multiple educational and hands-on art workshops, and a traditional Mesoamerican feast at Daybreak Star Native American Cultural Center. Photo: Jenny Crooks.

22 23 hoods. Photo:Robert Wade. lifestyletomake vibrantneighbor- walkable and a independent businesses,restaurants, and venuesforcreativityexpression with ties thatsuccessfullycombinethearts, artists, of America’sTop Twelve ArtPlaces,communi- Capitol HillandthePike-PineCorridor asone A January2013reportbyArtPlaceidentiﬁ ed CREATIVE | SPACE Initiative. City’s Race&SocialJustice inclusiveness andfurtheringthe A corevalueoftheOfﬁ ce is Anne Gadwa Nicodemus presented her research on cultural districts at Square Feet 2013, an event created to build connections between people working on cultural space issues in the city. Photo: Jenny Crooks.

SEATTLE IS A SPECIAL

PLACE But why is that? What makes it stand out from other cities in our region, in the rest of the United States, and even internationally? A sense of place can be hard to describe, but there are clear ways to invest in placemaking. A crucial investment is in public art: installing and nurturing permanent and temporary works of art helps foster communities and neighborhoods while also enhancing people’s experience as they travel through our city. Seattle has long been a leader in public art, and 2013 marked the 40th anniversary of the public art program. The inclusion of artists and cultural organizations in the public realm not only positively shapes the urban environment but also encourages access to art and fosters dialog.

With construction crews around every corner, Seattle is in the midst of a period of heavy development and change. We must ensure that arts, culture, diversity and curious people remain in the heart of the city to keep Seattle interesting, vibrant and dynamic. It is crucial to bring the issue of cultural space to the table, to ensure that the existing quality and quantity of spaces survive and grow. The year 2013 marked the launch of a Cultural Space program devoted to supporting, strengthening and expanding cultural square footage in Seattle. The program kicked off with the launch of a space inventory to determine the actual current square footage of space for artists and cultural organizations to live, work and create in Seattle.

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The Offi ce of Arts & Culture welcomed Langston Hughes Performing Arts Square Feet 2013 was created to give the voices of our community a platform Institute in January 2013, when the organization was transferred from Seattle Parks regarding cultural space in Seattle. The November 18 event was split into three sec- and Recreation to our offi ce. LHPAI rents performance spaces while providing programs tions: “rapid fi re” presentations from local arts leaders, a presentation by researcher and established annual events such as the Langston Hughes African American Film Anne Gadwa Nicodemus and a session to brainstorm ideas to help solve Seattle’s Festival, annual gala, summer teen academies, fall play, Black History Month programs, cultural space issues. From the brainstorming session, it was decided to issue a and related arts education and performing arts workshops. LHPAI celebrates, nurtures, request for proposals for Cultural Development Certifi cation for commercial and preserves and presents African American and African Diaspora performing arts, cultural mixed-use building projects. This certifi cation, analogous to existing certifi cations wealth and iconic legacies. Image 1: Karen Meadow in her one-woman tour de force such as LEED, will incentivize cultural space in new buildings in the same ways that on the life of Harriet Tubman, entitled Harriet’s Return. LEED has incentivized green building practices. Image 3: Offi ce of Arts & Culture director, Randy Engstrom, discusses the importance of cultural space in Seattle. The Langston Hughes African American Film Festival (LHAAFF), a Photo: Jenny Crooks. keystone program of LHPAI, celebrated its 10th anniversary with a nine-day festival hosting over 50 feature-length and short fi lms, 35 of which were either world or The Offi ce of Arts & Culture launched a free public art app called STQRY (pro- Seattle premieres. Film luminaries from across the nation convened in Seattle from nounced “story”) that uses geolocation to allow people to fi nd out more about the April 13 to 21. public art collection. The app is available for free on iOS, Android and Windows 8 operating systems, and features a GPS-enabled map that allows users to locate Developments in the creative and cultural future of the Central Waterfront project works of art near them, as well as a QR code reader (hence the “qr” in STQRY) that continued in 2013, including the selection of Stephen Vitiello and Buster Simpson directs users to more information about particular pieces of art. Information includes for prominent public artworks. Additional public art calls were announced that will history, artist statement, images and even video and audio when available. Content result in commissions in later years. A lecture series exploring the history of the from the app is also available for desktop browsing via www.stqry.com. Waterfront was introduced with an engagement with historian Coll Thrush, who examined representations of indigenous life in Seattle’s civic imagery, art and monu- Downtown street activation was accomplished through two programs: Seattle ments. Additionally, Art Interruptions, our temporary public art installation program, Presents and ARTSparks. Thursdays in July and August were enlivened with per- was presented along the Waterfront, with works by fi ve emerging artists. Image formances by some of Seattle’s hottest bands: Big World Breaks, Orkestar Zirkonium, 2: Jesse Link’s Vertical Ascension, part of the Art Interruptions on the Waterfront St. Paul De Vence, Choklate, De Cajon Project, Cordaviva, Brothers From Another, and program, was a free-standing sculpture comprised of four, large rectangular boxes La Luz. And a partnership with Seattle Parks and Recreation produced ARTSparks, a stacked on top of each other, featuring paintings of a sperm whale, colossal squid, series of temporary site-specifi c artworks in Pioneer Square’s Occidental Park. Nearly a tall trees and a large wave. The sculpture was placed at the base of the Pike Street dozen installations, happenings and performances explored the history of the downtown Hillclimb. Photo: Juan Hernandez. neighborhood and brought a sense of whimsy and imagination to the urban setting.

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2013 marked the 40th anniversary of the establishment of the Brian Goldbloom installed Pillar of the Community at Fire Station 30 in the Mt. Baker ordinance creating Seattle’s 1% for Art public art program. Along with neighborhood. The carved granite sculpture features a classical column as a 14-foot-tall celebrating the milestone throughout the year by remembering and fi re hose with fi ttings inspired by fi refi ghting equipment and the architecture of nearby recognizing iconic works from the last four decades, we also hosted Franklin High School. Commissioned with Department of Finance and Administrative the Northwest Public Art Administrators Consortium, a regional con- Services Fire Facilities and Emergency Response Levy 1% for Art funds. vening of the Americans for the Arts Public Art Network. Americans for the Arts named two Seattle public art projects in their 2013 Year Maple Leaf Park now features Patrick Marold’s site-specifi c, Confl uent Boulders, in Review, the only national program recognizing projects of excellence in public art: inspired by the two sources of water that feed the Maple Leaf Reservoir. The sculpture SODO by merge conceptual design, a series of stencil and barcode designs painted comprises two igneous boulders taken from the Tolt River and Cedar River Watersheds, onto 250 concrete columns that hold up the existing and new portions of the Spo- referencing the region’s natural resources and connection to the environment. Com- kane Street Viaduct; and Art Interruptions, a temporary art program that presents missioned with Seattle Parks and Recreation and Seattle Public Utilities 1% for Art short-term projects on city-owned street and park infrastructure. funds. Image 5: Photo: Jason Huff.

NEW PUBLIC ARTWORKS New artworks by Roy McMakin and Jeffry Mitchell were installed at the new Bounty, by Celeste Cooning, serves as a threshold for the Jackson Park Golf Rainier Beach Community Center and Pool. The six interior and exterior artworks (all Course perimeter trail in the Pinehurst neighborhood. Commissioned with Seattle untitled) range from a giant, pointing, cartoon-like fi nger to an infl ated rainbow Parks Parks and Recreation 1% for Art funds. identifi er sign. Commissioned with Seattle Parks and Recreation 1% for Art funds.

Jen Dixon installed PlayLand, a large, colorful collage of repurposed road signage Nine Lives, by local artist Peter Reiquam, is a colossal sculpture of a cat perched that mimics the contour of a roller coaster in honor of the amusement park that at the edge of the roof, ready to join his crew on their next life-saving mission. Com- operated adjacent to the site from 1930-1961, as part of the Linden Avenue North missioned with the Department of Finance and Administrative Services 1% for Art Complete Streets Project. Commissioned with Seattle Department of Transportation funds. Image 6: Photo: Benjamin Benschneider. 1% for Arts funds. Image 4: Photo: Jim Tillman. The monumental sculpture By Water On Land was created through a partnership with The new First Hill Streetcar now features large sculptural beaded poles that mark key 4Culture and artist Carolyn Law to create a new, site-speciﬁ c artwork in Seattle’s stations or nodes along the line. These modern totems are the work of Seattle artist Eastlake neighborhood, near the newly developed Cheshiahud Lake Union Loop. Ele- Claudia Fitch, who draws on metaphors related to sewing, needlework and beadwork ments of the artwork were repurposed from a sculpture created by Law in the 1990s for in light of the continuous power-wire “thread” that links neighborhoods on the line. the Route 70 trolley that was de-installed due to construction. Supported by SDOT 1% Commissioned with funds transferred to SDOT from Sound Transit. for Art funds and King County/4Culture Department of Transportation % for Art funds.

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The public art program developed temporary art projects across the city in the second projects. Taking place at Pier 62/63 on the Central Waterfront, the Observation Unit iteration of Art Interruptions, a series of artworks offering a moment of surprise, offered humorous signage, including “we promise not to bore you” and “exclusive tun- beauty or humor on city sidewalks and in parks. Artists Christian French, Jesse nel vision goggles sold here.” Funded by SDOT 1% for Art funds. Link, Tim Marsden, Michiko Tanaka and Sam Trout created installations along the Central Waterfront, and Elizabeth Gahan, Brian Gerich and Ian Horton, In 2012, Nicole Kistler was selected as Artist-in-Residence for Urban Agriculture, Julia Haack, Joanne Lepore and Breanne Gearheart, Chris Papa, Annie to investigate and propose ways in which art can reinforce the activities of people who Penta and Hollis Wong-Wear created installations on the Beacon Hill Neigh- engage in urban farming and enhance the places in the city where urban agriculture borhood Greenway. Art Interruptions is funded by SDOT 1% for Art funds. Image 7: occurs. Kistler’s overriding premise is that urban agriculture and art making can be Christian French’s Sightings was a series of photographs chronicling the travels of intertwined to build and promote community. Kistler codiﬁ ed interviews and site visits an old weather-beaten hubcap that looks like a UFO (or is it a UFO that looks like a into agriCULTURE, an art plan published this year, which proposes strategies and hubcap?). Photo: Juan Hernandez. Image 8: Julia Haack’s Arboreal Amulets was a guiding principles that can be employed to encourage the integration of art activities grouping of sculptural constructions made from reclaimed lumber attached to a tree with the practice of urban farming. Funded by Seattle Public Utilities and Seattle cluster at Daejeon Park. Photo: Zack Bent. Image 9: Hollis Wong-Wear’s Neighbor- Parks and Recreation 1% for Art funds. hood Boombox featured recordings by Beacon Hill musicians, poets and performing artists. Photo: Zack Bent.

Westlake Park was the site for summer installations by Seattle artists Elizabeth Gahan, Joseph Park and Claude Zervas. Park and Zervas installed four camera obscura booths that allowed viewers to project an image of the Westlake Park surroundings onto a postcard to trace and take as a keepsake, while “crystalline,” created from corrugated plastic and colorful vinyl, appeared to grow over the southern arch at Westlake Park in Chromatic Crystallization (Seattle) by Elizabeth Gahan. The vinyl’s slick surface and vibrant hues reﬂ ected the ﬂ ashy exuberance and commercial center surrounding the park. Commissioned with Seattle Parks & Recreation 1% for Art funds.

The Alaskan Way Viaduct Observation and Demolition Unit was a collaborative temporary art installation developed by Seattle artist Dane Youngren in response to the ways downtown Seattle is changing as a result of the viaduct replacement, and seawall

32 33 Staff List

Director Community Randy Engstrom Development & Outreach Cultural Partnerships Calandra Childers Kathy Hsieh Annie Holden Jenny Crooks Tim Lennon Lara Davis Jeff Pierce Irene Gómez Matthew Richter Ofﬁ ce Operations Jane Morris Public Art Steven Eng Ruri Yampolsky Sandy Esene Laura Becker Amy Herndon Eric Fredericksen Elisheba Johnson Blake Haygood Sheila Moss Tiffany Hedrick Jason Huff Thank you to Marcia Iwasaki former staff Deborah Paine Willem DeKoch Kelly Pajek Tamara Gill Joan Peterson Tameka Lampkin

Langston Hughes Performing Arts Institute Royal Alley-Barnes Sandra Boas-DuPree Lovell Davis Jacob Galfano Alfred Love Kristi Matsuda Jeremy Morton Jacqueline Moscou

35 2013 Seattle Arts Commission and Public Art Advisory Committee

Seattle Arts Commission

Jon Rosen chair, attorney, The Rosen Law Firm

Fidelma McGinn vice chair, vice president of philanthropic services, The Seattle Foundation

Jeff Benesi landscape and urban designer, Mithun

Lara Davis* former community partnerships director and program team lead, Arts Corps

Diana Falchuk* artist, educator and arts administrator

Jerry Garcia** senior project manager, Olson Kundig

Philmon Haile* YMCA Get Engaged Program, international studies, University of Washington

Terri Hiroshima vice president of communications, Seattle Metropolitan Chamber of Commerce

Perri Howard artist

Sandra Jackson-Dumont Kayla Skinner deputy director of public programs and adjunct curator, Seattle Art Museum

Amber Rose Jimenez** YMCA Get Engaged Program, membership coordinator, Washington Bus

Estevan Muñoz-Howard* development director, Social Justice Fund Northwest

Billy O’Neill vice president, Chihuly Studio

Vivian Phillips** director of marketing, Seattle Theatre Group

Tracy Rector** executive director, Longhouse Media

David Sabee cellist; founder, Seattle Music Inc.

36 2013 Seattle Arts Commission and Public Art Advisory Committee

Gian-Carlo Scandiuzzi executive director, ACT – A Contemporary Theatre

Michael Seiwerath executive director, Capitol Hill Housing Foundation

Huong Vu arts, culture and civic community investor, The Boeing Company

Sharon Nyree Williams** managing director, Central District Forum for Arts & Ideas

*Term ending in 2013

**Term beginning in 2013

Public Art Advisory Committee

Perri Howard, committee chair Jeff Benesi Jay Deguchi Jerry Garcia Kurt Kiefer Laurel Kunkler Julie Parrett Ellen Sollod

Front cover wrap image: The Central District Forum for Arts & Ideas presented It is My Existence. Pictured here are William Burden and Jade Solomon Curtis. Photo: Sandra Brierley, Red Crow Photography. The Central District Forum for Arts & Ideas is a 2013 Civic Partner. 2013 Expenditures (Total $8.1 million)

6% 9%

10% 41%

34%

33% PROGRAMMING Langston Hughes 67% Performing Arts Institute OPERATIONS

Total % of Total  Cultural Partnerships $3,318,340 41%  Public Art $2,798,236 34%  Langston Hughes Performing Arts Institute $857,209 10%  Administration $705,297 9%  Community Development $486,313 6% Total Dept $8,165,395

38 2013 Revenues (Total $7.2 million)

2009 2010 2011 2012 2013

Admissions Tax 1,186,394 3,679,474 4,176,143 4,979,327 4,400,813

Public Art 2,807,904 2,754,882 2,834,865 2,493,489 1,984,134

General Fund 2,941,814 0 0 0 405,000

Cumulative Reserve Fund 170,000 187,000 187,000 187,000 187,000

LHPAI Income/Donations n/a n/a n/a n/a 191,309

Other Donations 60,000 0 5,000 23,557 10,953

Total 7,166,122 6,621,356 7,203,008 7,683,373 7,179,209

8,000,000

6,000,000

4,000,000

2,000,000

2009 2010 2011 2012 2013 Letter from the Mayor 02

Letter from Randy Engstrom and Michael Seiwerath 04

Creative | Youth 08

Creative | Community 14

Creative | Space 24

Staff 35

Seattle Arts Commission 36

Financials 38

Contact Us 41 Contact Us: seattle.gov/arts | 206-684-7171 Facebook.com/SeattleArts ceofarts @seaofﬁ & Instagram: Twitter | Seattle ce of Arts & Culture Ofﬁ PO 94748 Box 98124-4748 Seattle, WA